High Above Bologna

Bologna is a fabulous place to visit. With its miles of porticos, Medieval buildings, ancient churches, historic university, fountains, beautiful piazzas, and its very own leaning tower, it makes for a fabulous stop on any northern Italian itinerary. And then there is the food. Bologna is where filled pasta takes center stage along with salumi of all types and gorgeous aged Parmigiano Reggiano cheese. It is a food lover’s mecca.

Going through the Porta Saragozza on the train to the Santuario.

But high above the city lies something that many visitors miss – the Santuario della Beata Vergine di San Luca (Sanctuary of the Madonna of San Luca). And that’s a shame, because it is a place of beauty and history. 

The Santuario lies 4.9 km (about 3 miles) from Bologna’s city center, up a series of steep portico lined steps that begin just beyond the historic 13th century city gate of Porta Saragozza. To make the walk is to undertake a pilgrimage, one not for the faint of heart (or weak of knees).

But there is another option – a small train departs from Piazza Maggiore in the historic center of Bologna and whisks passengers (well, more accurately it chugs slowly up the hill) along the portico and up to the Santuario. I normally avoid little tourist trains, but I make an exception for this one which stops right at the base of the Santuario’s broad terrace. After visiting the church, riders can catch the train back to town. Tickets cost €13 and the journey up to the church takes about 25 minutes.

The arches of the portico leading up to the Santuario. There are 666 arches total leading from Bologna city up the hill to the Santuario.

The portico itself is fascinating. Built beginning in 1674, it has 666 arches under which are several tiny chapels (once upon a time there were many more). Each year, in May for the Feast of the Ascension, the Byzantine Icon of the Madonna of San Luca is carried through the portico down to the city where it remains for one week at the Cattedrale di San Pietro (Cathedral of St. Peter, Bologna’s main church).  The icon then makes a return pilgrimage, up the portico, to the Santuario. The portico protects the icon from the elements during its journey down and back up the hill. Even for the non-religious, this is a fascinating slice of Italian history and culture.

Just one of the fabulous views from the Santuario atop the Monte del Guardia.

The Madonna of San Luca (from the website of the Santuario della Beata Vergine)

The Santuario sits on a hill, the Monte del Guardia. Its terrace offers panoramic views of the countryside, the hills, and the city of Bologna.  

The church was built on the site of a female hermitage for the purpose of housing the icon of the Madonna. The icon, which first arrived to Bologna in the 13th century, was originally cared for on this site by the nuns of the hermitage.

Consecrated in 1765, the original building has evolved and changed over the centuries. The current church, with its columns, marble, and gold trimmings, is quite ornate. It is filled with beautiful paintings and sculptures. Seeing art inside churches, where it was intended to be displayed, is always the best venue for appreciating the work. The art in the Santuario is no exception.

When visiting the church, definitely look up. The frescoed arches above the main and side altars are wonderful as are the large hanging lanterns. The small cupola, painted by the Florentine artist Cassioli in the early 1900’s, is lovely.

The setting of the Santuario is quiet and peaceful. The views are wonderful. The history is one of ancient legends and devotions. It is unique and fascinating, a not-to-be-missed place when visiting Bologna.

Prato’s Museo del Tessuto (Textile Museum)

Tuscany is not all rolling hills, art, vineyards, olive groves, and Medieval streetscapes.  A different Tuscany presents itself in the city of Prato. While Prato does have a historic center worth exploring, it is better known as the center of a thiving textile and fashion industry. 

Displays in the Textile Museum recount the history of cloth making and the fashion industry in Prato, including the role of Chinese immigrants.

The creation of textiles in Prato goes back to the 12th century, but it was the industrial revolution of the late 1800’s which fostered the growth of the industry.  Another boom period came with the end of World War II when Prato became one of Europe’s largest districts for textile and clothing manufacturing. Prato’s role in textiles and fashion continues today, in large part supported by the Chinese immigrants who began arriving in the early 1990’s. 

The history of textiles in Prato is celebrated in a small but fascinating and well-curated museum, The Museo del Tessuto. Established 50 years ago, the museum is now housed in a historic building – the former Compolmi textile factory. The factory was opened in 1863 by Vicenzo and Leopoldo Compolmi in a building that formerly housed a mill (and before that a convent). One of the fascinating aspects of the museum is seeing the former factory’s collection of machinery used in the manufacturing process along with implements used during different periods of manufacturing. 

Displays throughout the museum explain the evolution of fashion and style as well as materials used during different time periods. There are displays on types of fabrics, materials used to spin thread, and agents for coloring fabric. Many of the educational displays are hands on, giving visitors the ability to feel how different raw materials are to the touch. I owe these displays a big thank you for most of the info contained in this post.

Recently, I had a chance to visit the museum and see two special exhibits.  One, Silk Treasures, showcases fabric, small remnants, larger pieces, and intact garments, from the 15th – 18th centuries. Many were originally designed for Europe’s wealthy class and later recycled into garments worn by the clergy. The fabrics are woven with gold and silver threads as well as intense blues and reds, forming intricate and beautiful patterns. That they have survived for centuries seems like a miracle. The Silk Treasures exhibit will be on display until December 21, 2025.

The second special exhibit is quite different.  It is a contemporary and futuristic display of clothing crafted from velvet fabrics.  Entitled Velvet Mi Amor, it was created by father and daughter designers Stefano and Corinna Chiassai.

The Velvet Mi Amor exhibit has an eye-catching group of patterns, colors, and textures.

The exhibit, which runs through June 8th, includes 24 otherworldly figures clothed in a diverse range of velvets – prints, patterns, inlays, and laser cuts all have a place.  The oversize pants, jackets, shoes and hats, all in velvet, pull you in to take a closer look. You may even find some hidden messages in the patterns.   

Prato is easily reached by train in about 30 minutes from Florence or 60 minutes from Lucca.  The museum, including its well-stocked gift shop, is definitely worth a visit. And Prato, which hosts Italy’s second largest Chinese population, is just the place for a post-museum Chinese food lunch.

The gift shop at Museo del Tessuto

Venice Biennale 2024

This art installation was suspended from the ceiling in the British Pavilion.

Every two years the city of Venice hosts Venezia Biennale Arte, an international art and architecture exhibit.  The 2024 Biennale, curated by Adriano Pedrosa of Brazil, marks the 60th edition of the show. This year’s exhibit, with more than 300 participating artists from 88 countries, opened in April and continues through November 24th.

The Biennale takes place mostly at the far end of Venice, at the Arsenale (where all of the large naval ships are anchored) and in the pavilions of the Arsenale Gardens. Additional works can be found throughout the city of Venice.  The Arsenale Gardens is home to the permanent pavilion of the larger national exhibits. It’s easy to spend hours here, wandering through the exhibits, stopping at one of several cafes, and enjoying the grounds as well as the outdoor art pieces.

The 2024 show’s title is Stranieri Ovunque – Foreigners Everywhere.  An explanation of the theme in the exhibit’s literature reflects the idea that we are all, at some level, a stranger. 

In keeping with the theme, many of the works are by “outsiders”, including artists who have been treated as foreigners in their own lands or cultures.  The foreignness relates to concepts such as indigenous status, sexual orientation or identity, political beliefs, colonization of lands by foreign powers, or immigration status. This theme was especially evident in Spain’s Pavilion which included a Migrant Art Gallery and a Migrant Garden.  

A number of the works are political in nature.  Others portray themes of environmental sustainability, history, migration patterns, and culture. Italian culture and history was represented in several pieces in the Central Pavilion. The one below, titled The Cutting and Sewing School, was particularly captivating. It seemed to show the old ways slowly fading away.

Italy, The Cutting and Sewing School

Belgium, Petticoat Government

The art was fascinating, at times confusing, other times enchanting. Some pieces were uncomfortable or downright disturbing.  All were thought-provoking – and isn’t that just what art is meant to be? 

At a certain point I realized that it was impossible to read all of the accompanying descriptions, much less take notes, and still see as many of the pavilions as possible. For that reason, in this post, I have included photos identified mostly by the name of the country’s pavilion without detailed explanations of the works and with apologies to the unnamed artists.

I leave the interpretations of each work up to you!

Canada.  The background is made up of strands of glass beads.  This light and airy room was a great place to linger.

While some of the darker and more disturbing images gave me much to consider, it was the ones that reflected shared history, hope, unique ways of living, and light that most grabbed me.

I spent a long time looking at one captivating piece entitled The Crucifixion of the Soul, by Madge Gill (below).

The work was a 10 meters (~32 feet) long ink on fabric drawing made up of a series of female faces and intricate backgrounds. All crafted from tiny lines in 4 colors of ink. Her work was so unique that I had to know her story.

I was surprised to learn that she was not a contemporary artist but rather that she lived from from 1882 to 1961. She is considered an “outsider artist” - one who is self-taught and has persisted in their art despite poverty or mental illness. Madge Gill was indeed a stranger in her own world, and a perfect representation of the Biennale theme.

80+ countries participated in this year’s Biennale.  I particularly loved the US one, which was filled with works reflecting Native American culture. It was the first time that a Native American Artist (Jeffrey Gibson) was chosen to represent the United States at the Biennale.

The forms, colors, and beadwork were nothing short of spectacular.

My many years of living in New Mexico made these pieces especially meaningful to me.  I wasn’t alone in my delight in this exhibit - the number of people spending time in this pavilion and taking photos made it clear that these pieces were appreciated by many.

 Moving through France’s pavilion was to take an undersea journey, a reminder of the importance of our oceans and the life within them.

 A few of my other favorites:

Finland - The Pleasures We Choose

 Hungary, Techno Zen. A multimedia installation with sound, light, movement, and a riot of color (below).

This was my first ever experience at the Biennale.  With just one day in Venice, I was able to see many of the exhibits in the Arsenale Garden but ran out of time for the ones in the other Arsenale and city locations.  When the Biennale returns in 2026, I will need to plan two full days!

Hell According to Giotto

Hell, According to Giotto

 Hell.  The Merriam-Webster dictionary describes it as “a place or state of misery, torment, or wickedness’.    

Many religions have the concept of judgement after death and a banishment (either permanent or temporary) to a horrible place of punishments for one’s sins and misdeeds.   For the most part hell is seen as a place not of this earth, and most definitely not a pleasant destination. Just as medieval churches told uplifting bible stories in fresco form, so too did they put the fear of hell into vivid paintings.  

 There is nothing like horned demons and gruesome animals nibbling on flesh to make one fear the eternal damnation that awaits the sinful, greedy, or otherwise misbehaving person.  These depictions of hell in medieval Italian art can be particularly terrifying, which is exactly what the artist intended.   As an adult I appreciate their artistic value and find them to be a fascinating glimpse into medieval culture; as a child they would have given me nightmares. 

Heaven to the left, Hell to the right.

These scenes of hell can be found in many churches.  Some of the most intense ones were painted by the artist Giotto for the Scrovegni Chapel in Padova (Padua).   

On previous visits to the chapel, I focused on the familiar stories of my Catholic youth.  They are gloriously painted by Giotto. 

 But, on a recent visit I was instead captivated by the large panel at the far end of the chapel that depicts heavenly reward to the left and the horrors of hell to the right. 

 In hell, there is a horned Satan at the center (top photo) surrounded a multitude of smaller agents of torture  - winged devils, serpents, hairy beasts. 

Hell has rivers of fire, darkness, and innumerable means of torture. 

No wonder so many felt the need to repent and atone for their sins before facing judgment!

The Scrovegni Chapel is a must see when visiting Padova (reservations required).   Giotto’s work is a masterpiece, even if it does include some of the scariest depictions of hell that I’ve ever seen!

Lucca Biennale Cartasia 2024 The Outdoor Exhibits

Lucca Biennale Cartasia 2024: The Outdoor Exhibits

The Leap of Desire: The Quest of the Squirrel by Joanathan Bessaci of France.  

Last week’s blog showcased the indoor pieces from the paper art exhibit known as Lubica – the LUcca BIennale CArtasia.  Every other year, Lucca welcomes artists from around the world as they design, build, and display enchanting works of art crafted out of paper.   It is one art exhibit I never skip!

This large sculpture, titled Inverted World, is located iin Piazza San Michele, Lucca. It is by the American artist Michael Stutz.

 The indoor works are generally smaller and often quite delicate with intricate cutwork, weavings, and collages.  The larger pieces designed for outdoor display are more sturdy, made from cardboard as opposed to more fragile types of paper.  They are still vulnerable to rain, wind, and human hands, especially the pieces that are completely out in the open in a piazza.  This is one time when outdoor art pieces are “hands off”.   At the conclusion of the exhibit many of these works will find long-term homes in protected places – underneath Lucca’s walls or in indoor spaces.

This large sculpture, The Revolt of the Wild World, by XL do Studio Neps (Brazil), represents a plea for the protection of endangered wildlife.  

The bigger, sometimes massive, pieces adorn courtyards, piazzas, and archways throughout Lucca’s historic center.  This year one of the largest pieces, constructed in the workshop/laboratory, proved to be too big to fit through the doors and so could not be moved into an outdoor spot.   The sculpture, named Swallow’s Flight, remains inside the Mercato del Carmine building where it can be viewed as a special exhibit (ticket required).  If you are in Lucca this month don’t miss it – it soars to the roof of the building and is a wonderful, graceful work of art.  A guide explains (in Italian) the construction of the sculpture as well as interesting information about the history of Lubica (celebrating 20 years in 2024), past exhibits, and the Old Mercato building itself.

Swallow's Flight by Alex Lidagovsky con Dasha, Ukraine

All of the outdoor pieces are wonderful, but my favorite is Leap of Desire. This large, colorful squirrel (top photo) reaching out for an acorn, sits in the courtyard of the Palazzo Guinigi.  He just makes me smile.

 Also found in the courtyard of the Palazzo Guinigi is this intriguing piece entitled Giano (Janus). A sort of time machine, the artist intends for it to explore human identity and encourage self-reflection. The artist is Chantal Maiorano of Italy.

The schedule for exhibits and workshops, as well as for tickets, is on the Lubica website: https://www.luccabiennalecartasia.com. If you’ve missed this years exhibit, Lubica will return in 2026.

Datamorphosis by Katarzyna Lyszkowska, Poland.